#11 in "Letters From Winnie" Series

In no particular order – one of many pieces of advice in letter form, inspired by correspondence to potential book-related clients over the years.

(I have reproduced no clients' emails to?me?– and have removed all identifying factors from my own letters to them; also, some letters are composites.)

2019 Letter from Winnie

??"Hi______________,

"I certainly hope I can help you! I'll try to give you some idea (below) as to how I've worked with various authors (keep in mind that some of the jobs were done under NDA, so I can't identify them ;)

??With one author several years ago, I worked with his existing rough manuscript/notes as a springboard. I fleshed it out, researched, rewrote, added, edited (structurally and otherwise) etc.?–?and overall did three complete drafts of it.?

*** That book ultimately did get accepted by a?traditional?publisher, and probably partly through the 'proposal/promo package' I also did for it.

??With three other books (one a memoir), I added "bridges" to help make the book more cohesive, replaced words with stronger ones, cut out lots of adverbs and lazy words, combed the manuscript through for consistency and continuity, etc.

I added or enhanced?drama where relevant and realistic within the overall framework of the book. Often I structurally cut or expanded, to help infuse the book with more strength, excitement and overall readability (which is really what it's all about).

Etc...

??With most books, there's always at least a bit of structural/developmental work that really amounted to rewriting. In some instances, the author preferred me to describe all I felt needed work, so he/she could do it instead, Also, a critique would cost less than would a complete book editing!)

What effect did all of this?–?and other things?–?have? I don't always know that, as in most instances, my authors have self-published (while the book accepted by a trad?publisher?isn't out yet).

Also, not every author knows how or is willing to do constant, targeted, creative promo to help sell the book?–?so I haven't seen results that indicate how the editing has paid off.

Overall, my clients have seemed pleased with what I've done.

??In another instance, the client ran out of money. I had done an excellent job?on the first third of the book (and even before we began!) so I like to think it helped her to finish the rest of the book herself. I.e., all along, I'd tried also to be a coach/guide. I believe she used another editor too.

Some authors who did get their books "out there" (via self-publishing) had many online reviews?–?and some of those praised the book in various ways, while others had more negative comments.

??Which brings me to...the fact that editing a book can be a subjective kind of thing.?Two editors might do a book quite differently. The best editor in the world can work on a book (and it can be published by a top?publisher), and some readers will say it flows well, others will say it's awkward, etc.

It's often what people "bring" to their reading of a book that defines how they ultimately judge the book.

Also?–?again?–?the "success" of the book has a lot to do with how much the author does to promote it. I can certainly help do that ( if we create an agreement for that) but too often I see new authors do not get fully behind their books.

You should be prepared to promote it, in strong, diverse, targeted ways really for the rest of your life ;)

I feel I know what you mean about polarizing your readership?–?just keep in mind that you might alienate some of them, too! (but the same could be said for other strong books).

??However, perhaps the best "polarizing" books aren't specifically written to be that way?–?but sort of develop that feeling or strength as time goes by and the author or editor works "authentically," rather than trying to achieve a certain style. Not to say it would necessarily happen that way!

What also has some bearing on how you write the book (and I edit it) is whether you hope to interest a?traditional?publisher, or plan to self-publish it.?

??Of course, your book should be as "quality" as it can be in any case.

But if you were hoping to publish?traditionally, I'd bring some extra cards into the game?–?such as comparing it to other, similar memoirs?–?and showing the?publisher?how we've done our competitive research (as well as give them a market report, promo plans, evidence of author's platform/followers etc.)?

BTW, some of the structural/developmental work I've done with authors has actually been as a team?– with, e.g., those who preferred me to give ongoing critique/reports of the manuscript as I read it, so they could make the changes themselves. Often it involved a lot of written commentary on my part, but it worked well in these cases.

??A few other things to consider:?

**Length of book. I've worked on books ranging from about 20,000 words to 250,000 words (really 3 or 4 books in one!

**Timeline (and whether there's time to do an often-lengthy, back-and-forth developmental/structural editing, which could take weeks or months).

**Fee (my editing fees for book jobs have ranged from $_____ to ______, with most somewhere in the middle. I've copy-edited book manuscripts of around 70,000 words for $_____-_______. Structural editing of a similar manuscript, and combined with copy-editing, might be twice that.

*Fee structure: Payment in agreed-upon installments, with a deposit. We also can have a friendly, detailed short or long contract/letter of agreement. And if either of us feel it's not working out, we can let go of the deal as long as we've both fulfilled our obligations to that point.

??*** One thing I do provide is a free read/critique/edit of a portion of the book?–?perhaps 10 pages or a chapter, etc. This will help me to understand how you write, and if I would be a good 'fit' for you. I can also do a longer critique, of a complete manuscript, for a fee.

*I also offer additional services, such as extensive consultation re: publishing options and approaches, media promo help, etc.

??* BTW, if you find you're not ready to spring for an editor yet, you might try approaching some "beta readers"?–?who love reading pre-publication manuscripts to provide some good commentary and reviews?–?then take it from there.

Look forward to hearing back from you! And if you'd like to send a small portion of your manuscript, I'd be delighted to give you some editing and input.

"Thanks, _________, and have a wonderful, wild, wordy day!"

Winnie